: George Vadakkan is the quintessential prodigal son of a priest, who wished he followed the father’s path. His friends and George generally hang out at Mathayi Parambu, a public playground cum hangout space of the area. How the park plays a part in setting his life straight is the core of the pooram.
: A group of street-smart Romeos who loiter around happy-go-lucky until hard time strikes, which would predictably ‘set them straight’ - A formula that can go either ways, depending on how well the makers mix and match it with the right ingredients. In Georgettan’s Pooram, sadly, the recipe doesn’t click and the end result is quite bland.
Though the son of a Mar Thoma priest who wishes his legacy lives on, George Vadakkan (Dileep) is a quintessential prodigal son. All that he does is loitering around with his friends Pallan, Churulan and Vava. They grew up spending most of their time on Mathayi Parambu, a common playground donated by an Asiad gold winner decades ago, in their neighbourhood. At a particular juncture in the story, the fate of this space gets connected to their own and how it transforms their personalities is what the film is about.
When someone like Dileep is on board, the minimum expectation is that the film offers some brainless, yet entertaining laugh-out-loud moments. However, the movie completely fails to offer quality humour and the dialogues fall flat, scene after scene. Dileep’s Thrissur slang sounds forced and not once does he succeed in offering anything impressive or memorable in the film. In the second half, the film attempts to take a serious turn but there too, no surprises in store for the audience. An underdog sports team is brought on board, for whom audience should ideally feel enough reasons to cheer for. But then, it also turns out to be another predictable fare. Dileep fans are given enough frames to applaud his unbelievable ‘superhero power play’ against a professional team of players. State Award winner Rajisha plays a role that’s nothing like in her debut movie that doesn’t give her much room for performance.
One can’t help wondering why filmmakers these days stuff in enough and more of slow motion sequences in movies, especially in climax and action sequences. Georgettan’s Pooram is a classic example of how you can overuse the slow-motion technique to annoy the audience. At 2 hours 35 minutes, the film drags on and the makers could have definitely made it crisper, editing out those stretched scenes.
By the time a much-loved personality’s familiar voice tries to wrap up the film on a decent note, all that the audience wish for is it doesn’t drag on, further. Dileep fans or not, this pooram is better given a miss.